Killing Obsession (1994)

produced, written & directed by paul leder
poor robert productions

You’d think, were a filmmaker to wait 21 years to come up with a sequel to an earlier triumph, some care and concern would be evident in the production, that it wouldn’t appear to have been written and shot in less than a week. This revisiting of the saga of “Poor Albert and Little Annie,” however, trades the original’s malevolence, transference and, yes, obsessiveness, for the trappings of a wannabe standard-issue “erotic thriller.” (Even that’s an overreach; “some naked torsos” do not equate to “eroticism.”) “Albert,” meanwhile, is so obviously played by – if not as – a different person than in the first film that maybe it’s less important that the character devolution is reductionism at its most evident. As a straight-to-video offering, maybe the budget can be blamed for some of the disinterested, misguided direction offered here. Formulaic and instantly forgettable.

why did i watch this movie?

Well, I saw Part I, and I’ve seen another Leder outing, so it seemed worth a stab. (Sorry.) I did have my doubts, though.

should you watch this movie?

I’m trying to imagine what people who never saw I Dismember Mama would think of this … but if they’re lucky, they wouldn’t.

highlight and low point

Shown a police photo, the long-lost “Annie” observes that “Albert” has “hardly changed at all.” As has already been established, the character is being played by a different actor, with little resemblance to the first. Albert has allegedly been “analyzed, lobotomized, and institutionalized for the past 21 years,” which I guess is to account for his one-note depiction throughout … but whether that much thought went into any of this seems debatable. Hallucinations and re-creations of key scenes from the first go-round don’t abet the cause.

rating from outer space: D−

The Descent (2005)


A harrowing exercise in psychological terror, coupled with an in-depth examination of the fight-or-flight response, this British spelunking picture convinced me that I lack a certain sense of adventure, that I am not equipped with derring-do. (I frequently used to be reckless or foolhardy, but those are not equivalent.) Oftentimes claustrophobia-inducing, it at other times reminded me of 2014’s The Pyramid, which is unfortunate, but as it predated that flop by almost a decade, the blame lies with my tardiness. Similarly, I couldn’t help but relate this picture – featuring a group of friends with some relationship issues being picked off one by one – to others with like themes that I’ve watched of late. To be completely straightforward, this flick lacks somewhat for credibility, but it’s executed so well it’s not an issue. Dubious though I was when the cavers first encountered the resident humanoid danger, the troglodytes’ existence and demeanor felt circumstantially logical. (Indeed, I’d be hard-pressed to imagine how ravenous cave-dwelling mutants might not provoke some disbelief.) Seeing it with its original ending also helped, I think, ambiguous though it remained.


Having intended to have seen this movie long ago, it seemed like a good idea to finally do so, once I again remembered I still hadn’t, if you follow.


If you, like me, have yet managed not to experience it, sure, though I wonder if, like me, you will then perceive it through a somewhat tarnished prism.


Some of the gruesome touches were of course welcome, my favorite being the veritable, uh, lake of blood. This film has a sequel, to my dismay – but not to my surprise. We wouldn’t expect the film industry to leave well enough alone, after all.